T-shaped silk painting of Mawangdui No.1 Han Tomb: 1972 was found in Mawangdui No.1 Tomb-Hou Licang's wife's tomb in Changsha, Hunan. The time is about 12 years after Emperor Wendi (BC 168). His painting skills are superb and his imagination is extremely rich, which is enough to represent the universe that the Han people are meditating on. It is a rare treasure in the existing silk paintings of Han Dynasty. This silk painting is 205 cm long, 92 cm wide at the top and 47 cm wide at the bottom. 7 cm, T-shaped layout, is a banner used for lifting and hanging at funeral. The content of silk painting is divided into three parts: sky, ground and underground. The upper part represents the sky, and a red sun is drawn in the upper right corner. The sun is inside, the hibiscus is below, and there are eight little red suns among the leaves. Draw a crescent moon in the upper left corner. The moon carries the Jade Rabbit and the Toad who spits clouds. There is a snake-shaped Nuwa between the sun and the moon. The whole sky is centered on the statue of Nu Wa. Nu Wa has long hair, wears blue clothes on her head and sits on the left with her hands in her sleeves. The snake crouched around, dignified and solemn. There are five cranes holding their heads high on both sides of the mother snail. Draw a dragon with its mouth open and its tongue sticking out at the bottom of the sun and the moon. On the left is Ying Long with wings. Under the moon, a woman was blown like Lapras's wings. Between two dragons, two cranes are flying, and a priest is hanging below. Two animal-headed priests rode different animals, holding hands and pulling the rope, as if they were vibrating. Tudor painted the Tianmen, and a leopard was lying at the door. At the door, two gatekeepers sat hand in hand. This part of the picture is the paradise imagined by the ancients. The middle part of the silk painting represents the world, accounting for about 1/2 of the whole painting, with the image of the tomb owner and the sacrificial map as the central content. The owner of the tomb is a graceful old woman, dressed in colorful striped clothes, walking slowly with crutches, accompanied by three maids behind her, and two waiters kneeling in front of her to meet the case. All six of them stood on a long altar. This painting should be a portrayal of the life of the female tomb owner before her death. Above them, there is a triangular canopy composed of patterns and bird patterns, below them, there are owls with wings spread, and on both sides, there are dragons, fairy birds, red clouds and so on. , thus forming the atmosphere of ascension. The altar was held up by two panthers. They stepped on the bodies of two dragons. The bodies of the two dragons met in the middle and passed through the hole in the round wall together. A big chin hangs under the wall, with left and right tassels on it. There are two feathered people on the tassels, who should be the immortals who guide the tomb owner's soul to heaven. There is a desk under the chin, on which there are sacrificial vessels such as ding, pot and ear-folding cup. There are six people standing around the case, which symbolizes that the family of the tomb owner is offering sacrifices, while the one standing alone on the left may represent the official who praised the sacrifices. This image shows that the owner of the tomb is dead, his god Ran Ran is in the sky, and family members in the world are making sacrifices for his dead. The picture of the deceased ascending to heaven and the bizarre composition fully show the rich imagination and outstanding creativity of this unknown painter. The lower part of the silk painting represents the underground. In the middle of the painting is a naked earth, with a flat plate symbolizing the earth in both hands. A snake and two big fish are wrapped around the neck, and magical animals such as turtles and owls are on both sides. This is a fictional underground world. The whole painting contains the contents of ancient myths and legends, and shows the concept of the Han people's pursuit of becoming immortal and immortal.
This silk painting has made great artistic achievements. First of all, it is manifested in the realism and expressiveness of the characters. Take the female tomb owner in the painting as an example. The female tomb owner stood on crutches and leaned forward slightly. The structure of the body skeleton not only conforms to the principles of mechanics and anatomy, but also reflects the temperament of an elegant old lady with her proud expression and fat posture. Coincidentally, the tomb owner's body survived for 2000 years, and the portrait is similar to the actual person's face, which fully embodies the painter's superb ability to handle things and hieroglyphics. Silk painting is good at highlighting the main characters when dealing with group images. Judging from the corpse of the tomb owner, the tomb owner is short in stature, but his image in silk painting is much higher than that of the waiter behind him. This painting method of exaggerating performance in order to highlight one's position is often used in China's portraits, and the use of silk painting in the Western Han Dynasty is an early example. The figures in silk paintings are mostly profile images, which is a remarkable feature that painting is still in the early stage of development.
Secondly, as far as composition is concerned, the painter's layout skills are extremely superb, and his statutes are precise and rigorous, so he should rank first among Han paintings. In this painting, the painter used a decorative composition centered on the tangled Ssangyong, which developed simultaneously from top to bottom to form a symmetrical and balanced structure. The sun and the moon are separated at the two upper corners, showing an open sky and forming a symmetrical structure. The middle part is centered on the owner of the tomb, in which two pairs of dragons hover, combining many scenes and using the opening and closing principle emphasized in Chinese painting. The picture is symmetrical, unified and changeable, avoiding monotony and dullness. The space occupied by the sun and the moon is different. There are three cranes on the right and two on the left of Nu Wa, and the waiter beside the female tomb owner kneels in front of them and stands behind them. In the painting of the waiter beside the tomb owner, the painter's ability to handle space is shown. The three attendants and maids on the right stood together in turn and appeared in an overlapping way. Although the clothes of the three maids are put together, their upper bodies are in tandem. This subtle change shows that the painter has been able to fully show the three-dimensional sense on the plane of two-dimensional space and show the depth of the whole environment.
It shows the superb skill of using a pen. This silk painting is mainly outlined by lines, and the characters are portrayed by uniform and rigid lines, which is very similar to what later generations said. The long, slender and elastic lines convey the soft and light texture of the dress satin, the characters' faces are hooked up and down, and the lines are bent to the extreme, which makes the dress change with the turning point of the characters' bones and gives full play to the functional structure of the lines. As for the description of animals and utensils, thick and simple lines are used, which show the artist's skillful skills.
Silk painting is also excellent in color setting. This is a painting with quite strong colors. The colors used are rich, bright and steady, with ink lines as the bones, which can be used for both plane painting and rendering. At present, the whole picture is in a gloomy ochre tone, and the prominent vermilion and earth red show a solemn and warm effect. Coupled with white powder, green and other colors are added to the powder, which is both strange and gorgeous, reflecting the mysterious and strange romantic whimsy of the Han people.
Silk paintings of Mawangdui Tomb No.3: 1974, with 4 pieces of * * *, dating back to the 12th year of Emperor Wen (BC 168).
T-shaped silk painting on the inner coffin. The form and content are almost the same as the T-shaped silk painting of Mawangdui No.1 tomb, which is divided into three parts: heaven, earth and earth. The style and skills are slightly the same, except that the owner of the tomb is a man wearing a crown, a sword and a red robe, with a little more entourage around him, three people kneeling in front and six accompanying people.
Etiquette travel map, length 2. 12m, width 0. 94 meters, it is a silk painting on the west wall of the tomb. Has been dismembered. There are hundreds of people, hundreds of horses and dozens of cars in the whole painting. This silk painting is not exactly the same as the common travel map in Han Dynasty murals. It depicts not the procession of horses and chariots, but drum music. Riding from and belonging to cars all go to the upper left from different directions. Composition is also very distinctive. In order to meet the needs of grand scenes, the parallel painting method is no longer used, but the overlooking angle is adopted, which shows the progress of composition skills.
The silk painting on the east wall of the tomb was badly damaged. From the debris, the contents include architecture, horse running and women rowing. It is about the life of the tomb owner before his death.
The Qigong Fitness Picture is a silk painting hidden in No.57 lacquer, which depicts various postures of more than 40 men and women in four rows, with the intention of showing fitness methods, so it has not been artistically treated, but the skill level of painting in the Western Han Dynasty can also be seen from the description of a single character.
Silk painting of Jinque Mountain: 1976 was found in the No.9 tomb of Jinque Mountain in Linyi, Shandong Province, and it is a silk painting of the Western Han Dynasty.
It is 200 cm long and 42 cm wide, and it is also a non-clothing for coffin covering. In terms of layout, the upper part is heaven, the middle part is the activities of the tomb owner, and the lower part is underground or sea. The upper part is painted with the sun (with the sun), the moon (with the toad) and clouds, symbolizing Penglai, the abbot and Yingzhou, and symbolizing the building of Qiongge. The connection between the mountain and the sky means that the soul of the deceased can ascend to heaven from the top of the mountain. The underground part does not support the ground, but only supports animals such as ichthyosaurs and aquatic animals, representing the world of the dead, and the form is also very simple. The middle part of the picture accounts for the largest proportion in the whole picture, which is used to express people's activities in real life. The five layers of pictures arranged up and down depict different plots respectively. Under the curtain on the first floor hangs a portrait of the tomb owner, a chubby old woman sitting like a statue, with four slaves waiting beside her, three of whom are standing hand in hand and one is kneeling with a cup. The second scene is a music and dance scene, with a long-sleeved woman in the middle, two musicians playing the harp and playing cymbals on the right, and two people sitting in front of the music and dance on the left; The image is blurred, which may be the viewer. On the third floor, there are five men wearing crowns and robes, exchanging gifts as a scene for gathering with guests. On the fourth floor, two people on the left seem to be talking hand in hand, and on the right is the scene of spinning, with a woman operating beside the spinning wheel and three people standing and watching. On the fifth floor, draw a corner to perform. There is a samurai in the middle, dressed in thick clothes, as if wearing a mask, with a red belt around his waist and his hands crossed in front of him, full of energy; A soldier on the right is wearing decorations and a red bracelet. The two sides are ready for the first world war. The middle part is different from Mawangdui T-shaped silk painting. There is no pattern in this part, and there is no portrait of Shuanglong walking through the wall. The picture is arranged in five levels from bottom to top, with the lowest level being the largest and the highest level the smallest, giving people the feeling of deep development. Judging from the content of silk paintings, the plot can be generally coherent, mainly showing the life of the tomb owner before his death.
In artistic expression, it is very similar to the silk paintings of Mawangdui in the Western Han Dynasty. The two places are separated from Wan Li, and their styles are very close, which shows that Chu culture has a far-reaching influence on the Central Plains culture after the reunification of Han Dynasty. Of course, there is a clear difference between the two. For example, this picture mainly depicts real life. In painting method, the silk painting of Jinqueshan is based on thin ink lines and vermilion lines, which are used for coloring and flat painting. Finally, draw the outline with vermilion line and white powder line. This silk painting is dominated by flat blocks, and the thin lines outlined are in an auxiliary position, just like the boneless paintings of later generations. This is different from Mawangdui's silk painting in the Western Han Dynasty, which is based on ink lines to outline and fill in colors.
If the lines outlined in the silk painting of the Western Han Dynasty in Mawangdui Tomb No.1 are the model of ancient wandering, then the silk painting of Jinqueshan is the pioneer of boneless method in ancient painting.